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完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 李紀舍(Chi-she Li) | |
dc.contributor.author | Shao-Hung Teng | en |
dc.contributor.author | 鄧紹宏 | zh_TW |
dc.date.accessioned | 2021-05-13T06:40:13Z | - |
dc.date.available | 2018-08-04 | |
dc.date.available | 2021-05-13T06:40:13Z | - |
dc.date.copyright | 2017-08-04 | |
dc.date.issued | 2017 | |
dc.date.submitted | 2017-07-27 | |
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dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/2438 | - |
dc.description.abstract | 本論文結合物質及媒介的觀點,重新探究台灣新電影的美學與形式問題。新電影自一九八零年代初崛起以來,一方面揭露諸多迫切的社會文化議題,促使人文學界發展在地批判,另方面亦引導電影學者關注音像文本具強烈自主意識的構成。然而在都會片此一新電影次類型的討論中,形式的討論時常需服膺於文化研究視野下的社會批判而嫁接上普世的論述語彙,由此忽視了形式內含的物質及反身性格。相對於此種以文本「反映」外在真實的思維,本論文嘗試從物質環境的外圍觀點出發,肯認物質在敘事與風格的建構過程中扮演的居中傳介角色。我以「居住電影」的概念,描繪新電影就地取材的工法如何觸發一系列的傳介過程,使得電影形式及瞬變的物質環境得以互為接壤、媒合、與共生。
在形式和環境共同適應(coadaptation)的過程中,我聚焦於建築和新興媒介科技兩者之於敘事傳介及形式轉換的功能;論文並試著在建築與媒介科技重新媒介電影形式的過程中,開展出「透明」與「不透明」此雙重主體效應與空間佈署模式。第二章將「透明」視做為一視覺、空間與傳介機制,透視侯孝賢和楊德昌早期作品如何運用建築形式與媒介科技,形塑出銀幕上通透的居住空間。我主張藉由玻璃建築與媒介物件生成的透明效果,實則弔詭地揭櫫了電影操作的觀影機制,並彰顯了媒介科技標舉立即性(immediacy)的表象底下所殘餘的物質基底。第三章以底層市民的「不透明」身體為考察節點,連結新電影、錄像藝術及前衛表演藝術於八零年代都市空間的跨媒介實踐。在這些作品中,遭棄斥的身體藉由媒介科技自城市邊緣返還至中心;我透過追蹤身體在建築與社會媒體之間的傳介路徑,演示如何將都市空間視做跨媒介運動下的關係鏈結,以超越傳統的空間再現觀。而身體在此分配式的傳介過程中,亦強化其模糊、不為主流認知吸納的特性,形成有力的政治抵抗場域。在論文尾聲,我進一步強調「裂隙」在建築、物質與電影形式媒介過程中的無所不在。本節以藝術家陳順築的攝影裝置為例,重思居住電影的形式本質如何充斥著敘事、記憶與科技的錯置和斷裂,以此回應城市居住與媒介使用的倫理問題。 | zh_TW |
dc.description.abstract | Ever since its burgeoning in the early 1980s, Taiwan New Cinema has given rise to a productive scholarship that examines on the one hand social issues New Cinema works help focalize, and on the other the self-conscious constitution of form this cinematic movement potently stages. Yet in the study of urban films, a particular subgenre this cinema brings forth, the question of form is often subsumed under more urgent social critique adopting universal, and increasingly reified, parlance, thereby bypassing the material and reflexive nature of form. In response, this thesis proposes a new look into the formal aspect of these films, trying not only to thicken it with the material conditions experienced in social reality, but to recognize its agency in attuning the diegesis to such a material ambience. I coin the notion of “dwelling cinema” to depict how film form can be deployed as a mediational process, through which urban films of the 1980s learn to adapt to and dwell with the contingency of their material surroundings.
To illustrate the coadaptation of form and its material environment, I identify architectural spaces and the emergent media technologies as two crucial players that help carry out film form’s material-medial vitality. Collectively, architecture and media initiate these films into a formal interplay between transparency and opacity, the twin effects of remediation whose impacts also bear upon the urban space and its living subjects. Chapter Two features transparency as a visual, spatial, and mediational regime, studying how Hou Hsiao-hsien’s and Edward Yang’s early works collaborate with architecture and media technologies to devise a porous dwelling space onscreen. I argue that the effects of transparency conveyed in these films are achieved by involving a multitude of medial objects, whose material underpinnings exposed by the cinematic machine belie an illusion of immediacy underlying the seemingly fluid and interactive ways of dwelling. Chapter Three posits the underprivileged citizens’ opaque bodies as the focus of interrogation, and studies the interrelations between a New Cinema film, a video artwork, and a street performance. In these works, the body is cast as a mediatized entity transported from the city’s edge to the center. Tracing its mediated trajectories in and out of architecture, social media, and urban spaces, I argue for a reconsideration of urban space less as represented or blueprinted than as brought together by intermedial nexuses. The body, in a similar vein, invites an imagination of its distributive mediation, which paradoxically consolidates its tenacious opacity that could be deployed for political counteractions. The conclusion foregrounds the indelible existence of “fissures” in the mediation of architecture, things, and film form. Taking artist Chen Shun-Chu’s installation art as a case in point, this section reconsiders dwelling cinema in light of its irreconciliable form rife with narrative, memorial, and technical dislocations, dislocations that can be further evoked as ethical gestures of dwelling in the age of hypermediation. | en |
dc.description.provenance | Made available in DSpace on 2021-05-13T06:40:13Z (GMT). No. of bitstreams: 1 ntu-106-R03122019-1.pdf: 2280700 bytes, checksum: f1204c797ad5d467dab8c45433f1d37a (MD5) Previous issue date: 2017 | en |
dc.description.tableofcontents | Acknowledgements i
English Abstract ii Chinese Abstract iv One Introduction 1 Two New Cinema’s Transparent Media House 20 Three Transporting the Opaque Body 49 Coda Of Fissures and Stones 78 Works Cited 86 Chinese-Language Films Cited 97 | |
dc.language.iso | en | |
dc.title | 電影形式與媒介共生:一九八零年代台灣的城市與電影 | zh_TW |
dc.title | Medial Dwelling: Urban Materiality and Cinema in 1980s Taiwan | en |
dc.type | Thesis | |
dc.date.schoolyear | 105-2 | |
dc.description.degree | 碩士 | |
dc.contributor.oralexamcommittee | 齊東耿(Duncan Chesney),陳春燕(Chun-yen Chen) | |
dc.subject.keyword | 台灣新電影,電影形式,建築,媒介科技,透明,不透明,都市空間, | zh_TW |
dc.subject.keyword | Taiwan New Cinema,film form,architecture,media technologies,transparency,opacity,urban space, | en |
dc.relation.page | 98 | |
dc.identifier.doi | 10.6342/NTU201702015 | |
dc.rights.note | 同意授權(全球公開) | |
dc.date.accepted | 2017-07-27 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 外國語文學研究所 | zh_TW |
顯示於系所單位: | 外國語文學系 |
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